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Since the nineties, independent houses (Atrabile, L’Association, Ego comme X …) have grown alongside the mainstream production of comic books and opened new doors to the literary adaptations or autobiographical work of artists such as Boilet, Baudoin, David B., Francis Neaud … Seminal in this nouvelle bande dessinée are the exploration of innovative stylistic and narrative features – for instance, the unusual publication format and the choice of monochrome (which will affect the aesthetics) or themes set in a contemporaneous context including the everyday life. They appeal to a public who enjoys reading a bande dessinée as it would enjoy a novel or a film. Amongst the cross-cultural influences in the comics’ field, Japanese manga have had some bearings on the nouvelle bande dessinée. It is perhaps no coincidence that, as everyday life-based narratives are a central locus in manga and as the exploration of new styles continues to take place, some artists have chosen to adopt a manga-style bande dessinée. Featured recently in the press as ‘Nouvelle Manga’, the latter combine specific features of manga and of bande dessinée … with a reminiscence of French cinema for the Japanese readers. We propose to look at the specific stylistic and narrative features of Nouvelle Manga through Boilet’s autobiographical key work ‘L’Epinard de Yukiko’, (Ego comme X, 2001) which was published simultaneously in Japan and in France and has helped shape the term Nouvelle Manga, as an example of a very French and very manga type of nouvelle bande dessinée.